Review of Sony Hvr-hd1000n Hd Mini Dv Tape Video Camera
July 25, 2005
The Sony HVR-Z1U HDV Camera
And Association with Final Cutting Pro five
By Brandon Fullmer
These photos testify side views of the camera.
Affordable Hard disk is a recent realization for the video industry. Sony's HVR-Z1U camcorder has go the company'south current inexpensive HD solution. In this article I will review the Z1U every bit I requite you some of my thoughts and opinions about this new camera from Sony. I volition also discuss the HDV format and how Final Cut Pro v fits into the film.
Shown hither is the Final Cut Pro 5 edit windows standard
layout for the Cinema Display.
The Z1U is a i/3-inch 3CCD photographic camera that captures high-definition (HD) resolution video using HDV. HDV is derived from a codec that allows Hard disk video to fit on current DV tape formats. Of the available DV tape formats, the Z1U uses the more than pop type, mini-DV. Other electric current loftier-definition options are coming down in price at a tedious step only are still relatively expensive. However, the list price for the Z1U from Sony is $five,946.00 U.Southward. Resellers offer the camera for effectually $5,000 or lower.
At present that HDV has arrived, there are as well relatively new non-linear editing solutions, 1 being the contempo release of Terminal Cut Pro, version 5. The workflow for capturing and editing HDV in Final Cutting Pro is almost identical to the proven DV workflow, and is accomplished with a information transfer rate that works with Firewire throughput.
Shown here is the Sony HDV Firewire device command
preset in the Audio/Video settings in Terminal Cutting Pro 5.
The Z1U does provide format flexibility past not just shooting in HDV. The camera also shoots in DV/DVCAM formats, making it easy for the photographic camera to be used in electric current standard definition (SD) workflows.
What does the HVR-Z1U sport other than HDV? The specs to the HVR-Z1U are published at the following Web site link.
My overall assessment of the concrete form, style and usability of the HVR-Z1U is comparable to prosumer or low-cease professional cameras. This is exactly the manner Sony has marketed and priced the Z1U. There is easy admission to lens and image controls for professionals and whatsoever operator tin can roll through the simple carte du jour features and automated functions and buttons. This camera still retains a more prosumer photographic camera experience.
The to a higher place photograph shows the lens, lens hood and focus ring.
The higher up photograph shows a closer view of the lens housing, manual zoom
ring and other buttons and switches.
Shown to a higher place are just a couple of menu pages, the camera settings page
and the input/output settings folio.
The size of the photographic camera is slightly larger than Sony's PD170 a prosumer SD camera and all the same remains relatively light in weight. Smaller than full-sized professional person cameras, the Z1U requires an optional shoulder caryatid (Sony VCT-FXA) to extend the base length for long periods of handheld or shoulder shooting. The brace obviously helps provide steadier looking video plus, the built in optical image stabilization is added for more than stability when shooting. Without the shoulder brace, the camera does maintain good forepart to rear residuum.
Physically, the camera looks precipitous and comes with a useful lens hood/cover. The lens housing is sized for larger eyes and is nicely integrated into the camera body. The black exterior with white lettering easily points out all the buttons and switches. The overall layout is balanced, intuitive and orderly. The battery compartment depth fits larger batteries fairly so they don't protrude also far from the camera's rear.
The left photo shows the rear of the photographic camera with the record/camera ability button and the Firewire (iLink) interface location. The right photo shows the cassette tape mechanism comprehend with Sony and HDV printed on it. Also shown are transmission dials for audio levels along with other role buttons. Both photos show the camera loaded with a 5 hr chapters rated, battery pack.
I've briefly mentioned some of the initial impressions of the Z1U. I'll talk over the rest of my review of the HVR-Z1U in 3 categories. The starting time 2 volition be what I don't like and what I practise like about the camera. The third will talk over HDV.
What I don't like about the Z1U
Let'south start with the cons and after discuss the pros.
In the sound department, the DV/DVCAM record mode gives you lot standard 48KHz/16 bit audio, but in HDV record mode the same audio is then compressed to MPEG-1 Sound Layer Two. Audio compression for a master video record is non skilful. Although the sound is compressed with HDV, it is actually converted to uncompressed sound during the capture process in Last Cut Pro, for sound editing at regular data rates.
With the lack of great audio or video engineering skills I've tried to empathise this setback in audio quality with the Z1U in HDV mode. DV and HDV have the same data rates and both take up the same amount of infinite once captured to a hard drive. This should mean that HDV (compressed video) data should exist minor plenty for a mini-DV record and notwithstanding retain non-compressed sound. One far out theory of mine is a technical issue of retaining video/audio sync. I wonder if the audio has to go through a pinch process like the video to maintain video/audio sync.
Anyway, ane key goal in the digital video world especially for professional users has always been to increase audio quality every bit engineering advances, not to decrease it. Notwithstanding, if you want to use the Z1U and however are a perfectionist with audio quality, understand y'all'll get regular uncompressed audio in DV manner. If projects shot with the Z1U will incorporate more often than not post audio effects and music, yous might be able to "live with" lower quality audio in HDV style. At least you'll have high-resolution video. A traditional choice is to record audio separately using DAT or mini-disk technologies, for case.
Sony'southward Web site for the Z1U states, "Delight note that the directional shotgun microphone is not included with this camcorder." Initially i would recall this is non a problem since the Z1U has a congenital in stereo mic. This fact resulted in an erred supposition on my part. To the annunciation, Sony should have added, "You should purchase the separately sold shotgun mic because the Z1U can't split sound between the internal mic and the XLR inputs." Both off and on-camera sound can be obtained simultaneously to tape merely the internal mic is disabled using only the two XLR inputs. If you're going to spend the $5,000 or so for the Z1U, spend an additional $100 to $300 for a directional shotgun photographic camera mic. Sony does provide the shotgun mic mount with the camera package.
The left photograph shows the congenital in stereo microphone and the correct photo shows the shotgun mic mountain, to the side of the VCR control panel.
The Z1U's internal stereo mic is obviously not as good as a high-quality directional shotgun, but the internal mic works sufficient enough for b-gyre footage and natural sound video or NATS. As part of the audio electronics, Sony did include an optional "virtual" wind muff setting for the internal stereo mic that reduces wind noise.
Moving on from audio, the viewfinder can switch between color and black and white and comes with a nice eye-loving cup for blocking out light. What I don't similar is the viewing threshold is slightly small for a camera of this caliber, or price. This means whatever slight movement, ane way or the other the viewable edges or sides can become blocked. In addition, the viewfinders' optics greatly magnifies the actual miniature screen underneath. Therefore, this creates slightly unfocused aberrations and a concealment vignette in each corner of the viewing image. Still, I will add a disclaimer to this. Having dealt with viewfinders and optics for years in both photography and video, I've learned that everyone's eyes are different. This is how my middle specifically responds to the Z1U viewfinder. Besides, I actually utilise the LCD monitor a lot then this issue doesn't bother me like it would others.
This photo shows the rear view of the viewfinder.
Next, the Z1U simply records interlaced video signals. Data rates for 1080 progressive signals are too high for HDV applied science. A 720p signal is possible with HDV still, Sony plainly decided not to provide that option with the Z1U. I would have liked at least i progressive record selection included, at to the lowest degree in a DV format. The Z1U does have the ability to down-catechumen 1080i footage to 480p, but only through the camera�s VTR playback with the provided component output cable.
Next are couple of bug that surfaced during the log and capture process in Terminal Cutting Pro 5 while capturing HDV. The first issue is there is only one scan speed while reviewing HDV footage. This problem is modest merely slightly annoying. However, capturing HDV with downward-convert on or capturing DV, each does allow a 2d scan speed in log and capture, which is what I've been accustomed to when working with DV alone.
The left graphic shows the Log and Capture command from the File menu in Final Cut Pro 5 and the right graphic shows the sixteen:9,
HDV Log and Capture window.
The 2nd trouble has to do with device control response time. Once again, while previewing footage in log and capture, the Z1U has a very annoying delay in reaction time when down-catechumen is enabled for HDV. For instance, while using device control within Last Cut Pro, if playing footage at real time and then forward or opposite scanning is enabled, the image and then pauses in static mode until the photographic camera reacts. The pause can last up to three seconds. Then, once the camera has reacted to the command change, several frames up to a couple seconds of video are skipped. Information technology is worse when changing from real time play or forward scanning then switching into opposite. Information technology would be nice to see those dropped preview frames while scanning, especially for fine tuning in and out point choices. I tin can merely guess this is the outcome of the Z1U's electronics converting HDV on the wing. Capturing from DV cameras in the by, I've never had bug with the response time. Devices have ever reacted at an acceptable footstep. However, while capturing HDV from the Z1U using the full native HDV capture settings (not downwards-converting to DV), device command response time is really normal or like to what I'm accustomed too and the long pauses in the video are not apparent with device control control modify.
I was not nevertheless able to purchase the VTR companion deck to the Z1U (Sony HVR-M10U VTR) equally part of my equipment so I don't know if the decks' playback provides more than one preview speed of HDV material or does better than the camera with device control response in downwards-convert mode. I need to buy the deck anyway to save mileage by not having to employ the camera to capture.
What I practice like about the Z1U
Moving from the cons, here are the pros.
The Z1U's LCD monitor is accordingly placed, easily accessible, has full 360-degree rotation when opened, tucks away nicely and has a backlight off feature for bright outdoor situations. VCR controls hide behind the LCD screen when it is tucked away. VCR controls take been given ample real manor so they are not all bunched together.
This photo shows the VCR control console, outlined in cerise.
The Z1U'south total manual/auto lens and image controls are appropriately placed and sized for the photographic camera. At that place are six programmable office buttons that are somewhat piece of cake to locate and favorite functions tin exist assigned to these buttons.
This photo shows the programmable office buttons circled in red.
The lens is fully coated and has a 72mm filter bore. The built in i/six and 1/32 ND (neutral density) filters are hands assessable on the lens housing. Car lens focusing is smooth and works apace. The manual focus band is hands accessible and in that location is an electronic epitome magnification for easier sight reference during a manual focus.
Added creative shooting ability is provided in the design of the Z1U. The camera supplies a record switch and zooming lever on acme of the camera grip or handle, both easily reached with the thumb.
With a mitt for perspective, this photo shows the opened LCD monitor,
VCR controls and the elevation zoom lever and record button.
The overall auto zoom control, mainly the standard grip mounted zoom lever is fairly good. With some practise I'yard able to achieve the boring speeds I need. The upper grip or handle zoom lever does non have similar control response as the grip mounted zoom lever so information technology takes time to get used to the differences betwixt the two. The upper zoom lever command uses 2 speeds, controlled by a separate switch. The low speed setting should be made slower than it is. There is and volition be more aftermarket zoom control devices for the Z1U which volition provide enhanced zoom control.
At that place are two balanced XLR audio connections with phantom ability and manual level dials to command each audio channel level, although the dials are slightly modest.
This photograph shows the XLR input connections and phantom power switches.
The camera comes with component and composite outputs for sending over or converting footage to current HD or SD workflows especially for systems like in production broadcast studios and trucks.
The Z1U shoots loftier definition and the video image looks good. The photographic camera also shoots in DVCAM/DV. The camera can switch between NTSC 1080/60i and PAL at 1080/50i.
Shown here is the recording format
options folio in the carte du jour.
Final Cut Pro 5 just captures HDV from the Z1U through Firewire just the same every bit DV. Though downwardly-converting comes with a negligible workflow glitch, the camera instantly translates HDV video to DV. Downward-convert comes with the option to ingather the left and right edges or letterbox the full image, both for four:iii delivery.
Shown here are the iLink (Firewire) HDV to DV downwardly-conversion pick pages in the carte du jour.
The video image of the Z1U is natively caused at sixteen:9 so there is no vertical resolution loss for widescreen projects converted to 4:three. The LCD monitor and the colour viewfinder plainly brandish at the same ratio. As a menu option, there are markers built in that show the 4:3 image borders. This allows for composing the image for either ratio at the same fourth dimension. There is as well an overscan mode on the photographic camera that shows the entire video epitome, edge to edge.
The "4:3 delivery" viewfinder markers for the LCD monitor are shown in this photo circled in red.
The Z1U's congenital in downward-conversion makes it possible to maximize total resolution by only shooting in HDV and notwithstanding capture in post at DV resolution. This is a groovy solution for users of Final Cut Pro versions earlier than 5. You can shoot HDV now and evangelize in SD until Final Cut Pro is upgraded to version 5.
One time Final Cutting is upgraded to version 5, previously delivered SD projects can be updated from the original HDV footage for Hard disk delivery. Final Cutting Pro version iv.5, 4, or iii archived project files can be opened and updated in version five. If the original HDV footage reel is kept, Terminal Cut Pro v tin can recapture at HD resolution using HDV video settings. Then if your budget is tight and yous have an firsthand need for a camera, and want to eventually add Hard disk drive delivery, I recommend purchasing the Z1U before upgrading to Final Cutting Pro 5. Then upgrade your software when the upkeep allows.
The 3CCDs (Sony's Super HAD technology) larn a overnice looking paradigm and piece of work well in low light. I have not nevertheless used the Hyper Gain for shooting in less than i lux and I don't plan on doing whatsoever shooting in low light.
The camera provides manual white balance. Balancing tin exist saved in an A/B switch which also has an additional preset location.
For epitome control of highlights, the Z1U comes with Zebra Pattern which also has an adjustable level.
For more epitome command, the photographic camera offers built in color correction, black stretch and skin tone particular control. These help provide an image for diverse looks. Amazingly these piece of work equally they should and provide a noticeable difference in the picture. The colour extraction and enhancement capabilities are neat, only I adopt to take intendance of these options in postal service.
There are six Moving-picture show Profile presets for quick access of epitome adjustments, which too include the Cineframe� and Cinematone� Gamma styles.
The Cineframe® feature allows dialing in a 24 or 30 frame charge per unit look, and the Cinematone® Gamma feature provides settings for a cinema fashion colour correction await. At that place are many differing moving-picture show expect tastes, but if scene lighting is even slightly controlled these settings work beautifully.
Delight note that the Z1U does not shoot in true 24fps. The paradigm shot to record in these modes is still NTSC/60i material but gives a film-like frame-per-second look for video delivery. (If you must shoot, edit and evangelize 24fps, you lot will make information technology much easier in post production and on the film house to use a true 24p camera.)
HDV and Growing Pains
Revisiting the definition of HDV, it is a high-definition format proposed by a consortium of manufacturers in July of 2003, headed by JVC, Sony, Canon and Sharp.
The HDV format signals are 720/60p, 720/30p, 720/50p, 720/25p, 1080/60i or 1080/50i video compressed to MPEG2 (The Z1U only uses the 1080/60i or 1080/50i signals in HDV). HDV has a scrap rate of 25Mbps the same as DV, allowing high definition video data to record on a mini-DV cassette and work with Firewire throughput. HDV samples colour at 4:2:0. Apple has this reference documentation on HDV.
HDV is relatively new to the HD market, and to Terminal Cutting Pro, so naturally in that location are some growing pains. Using native HDV codec settings in Concluding Cut Pro to capture and edit, offers the aforementioned workflow as DV but comes with two drawbacks. The first drawback is that coding and decoding of HDV video during editing is processor intensive.
Audio/Video Settings command in the File menu
of Final Cutting Pro 5
Audio/Video Settings dialog, Summary tab. The pull-downward menu locations evidence
the settings for native HDV capturing and editing.
Because HDV is processor intensive during editing, there are arguments confronting this workflow yet there are options. One option included with Concluding Cut Pro 5 is capturing HDV footage from the Z1U using the Apple Intermediate Codec settings instead of the HDV codec settings. Referring to the article listed above Apple tree states that when capturing HDV, "yous tin can capture video from the tape source and then transcode it with the Apple Intermediate Codec to optimize the video data for playback performance and quality." The effect is less processor intensive.
This graphic shows the Sound/Video Settings dialog, Summary tab. The pull-down
menu locations show the settings for Apple tree Intermediate Codec capturing and editing.
Although this codec optimizes computer performance during the edit process, non too surprising, there are disadvantages. The captured video clip file sizes are large, using up much more difficult drive space and bulldoze speeds also need to exist sufficient. If big amounts of hard drive space are bachelor, this workflow is nonetheless preferred. Lastly, output back to tape with this codec takes much more time than it would with the native HDV or DV codec'south.
Using the Apple Intermediate Codec, at that place is also a slight alter-up to the standard log and capture workflow in Concluding Cut Pro. The usual Log and Capture window is eliminated and replaced with the "capture at present" process. Although, when capturing with this codec, data included on HDV footage tape informs Final Cutting Pro five to automatically create new clips, based on the actual start/end record points. Then the clips can exist reviewed in the browser afterward the fact. This workflow makes information technology difficult to capture only usable footage from record simply this procedure may not be a hassle for some users.
These graphics evidence the HDV Capture dialog and capture window for the Apple Intermediate Codec. The left graphic shows an example of naming the initial clip that will be captured once the Capture push button is clicked. With this workflow, once Final Cut Pro senses recording start/end breaks on the HDV tape, the subsequent names for the next clips would automatically be named "Reading Paper 02", "Reading Paper 03" and and then on, until the Escape key is pressed on the keyboard and capture stops. The following capture could then starting time over with the option to change the File Name.
Because of processing drawbacks, HDV software and hardware workaround solutions are slowly trickling into the marketplace. An article past Brad Wright posted here at kenstone.cyberspace, further discusses native HDV editing and offers a software solution. The article can exist plant here.
Miranda Technologies has also released a hardware solution chosen the Hard disk-Bridge DEC. Y'all can larn information on this product from the Miranda Web site.
The second drawback to the HDV workflow is external monitoring. In Concluding Cutting Pro five, HDV timelines cannot be viewed while editing, "instantly" through Firewire to an external monitor/device. To proof the HDV timeline the Print to Video command is currently the only option congenital in Final Cutting Pro five. Also note, the Edit to Tape command/feature in Final Cut Pro tin can't exist used with HDV timelines either.
I'm guessing this limitation will be eliminated in the future but for now I suppose the problem exists because HDV is however relatively new. There may need to be improvements with HDV technology, hardware, NLE software or a mixture of the three.
As a hardware solution for immediate external viewing of HDV timelines in Concluding Cut Pro 5, Blackmagic Design offers Decklink Hard disk video cards. These products can be institute on the here.
The software update to view HDV, DeckLink Macintosh v5.0, which is OSX "Tiger" and Last Cut Pro 5 compatible, is available for all current Decklink Hard disk drive video card users. The update can exist establish here.
Even with a Decklink HD card, depending on the existing video equipment, more hardware may be required. Adding more costs to an HDV workflow might be contrary to the indicate of an cheap HD solution all the same the costs to solve instant external viewing are minimal. Especially when compared to going with a full high-end HD NLE arrangement.
HDV looks like it will continually evolve forth with third-party hardware and software back up. At the time this article was published Apple, along with 51 other technology companies accept partnered with the original companies that divers HDV, committing to the format.
Once again the plus side to HDV, it's relatively inexpensive and the format conforms to the Firewire workflow. Costs to implement Hard disk drive are especially important for those that take high overhead in SD equipment or for those with startup productions and companies. Even regular consumers who want to piece of work with Hard disk will discover that HDV will work for a nominal consumer toll. The Z1U and HDV costs are besides minimal to work as an boosted tool for large budget productions.
Terminal Cut Pro 5 or Final Cut Pro Express for that affair becomes an even amend overall NLE solution for Hard disk now that HDV editing is added forth side the electric current DVCPro HD and uncompressed Hard disk options. An iMac starting at $1,299 or G5 starting at $2,800 with a movie theater display and Concluding Cutting Pro 5 installed, will all edit HDV without additional 3rd party hardware or software. Also, as the engineering evolves, Apple's hardware and software will evolve with information technology, becoming more streamlined for HDV.
Conclusion
The Z1U is a practiced camera. Information technology's an HDV/DV format video camera with native 16:ix ratio 1/3-inch 3CCDs. When it came time for a new prosumer-level DV camera, with an acceptable $2,000 leap in price to add high-definition capability, the Sony HVR-Z1U became my selection. Like other Sony cameras I've used, it has a quality build, is intuitive and like shooting fish in a barrel to use and comes with other bells and whistles, all for effectually $5,000.
If high-definition delivery is to become common for me, I'm already prepared with the Z1U. It's the alternative to using Panasonic'south DVCPro Hd format equipment, whose codec's were introduced with FCP Hard disk drive (version 4). You can easily fence DVCPro HD is improve, yet the costs to own information technology are way over the top for the allotted budget.
Practise the pros of the Z1U outweigh the cons? Yes they practise, considering the new HDV technology and what the photographic camera is marketed and priced for. Again, the camera fits my budget and provides peachy quality for my SD projects. Plus, I can now get-go implementing Hd as a delivery option. HDV resolution video also looks sharp when converted and downwardly-sized for commitment on the Spider web.
Every high and low-cease video camera provides a technology and costs that have a identify and application in the video or even moving picture industries, and I think the HVR-Z1U has rightly earned a useful spot.
Sony'due south HDV solutions, starting with the HVR-Z1U should fit very well in pocket-sized local television stations who can't afford to invest in expensive HD equipment. The photographic camera is perfect for a live television sports producer that travels with a squad and needs a camera that is uncomplicated to utilise to assemble player SOTS and NATS for diverse elements or features in the next Hard disk drive or SD broadcast. Delivering projects for multimedia, DVD and the Web can easily begin with the HVR-Z1U. Hopefully this review will aid you decide if the HVR-Z1U will work for you lot.
Brandon Fullmer works in broadcast idiot box product, corporate video and multimedia. In the past he's also had his fair share of event video experiences working with both Hd and SD for circulate. In corporate, multimedia and event video work, DV has been the dominating format for his work. Brandon has worked with Media 100, Adobe Premiere and Final Cut Pro in the early NLE days. Final Cut Pro and Macintosh solutions have been the dominating NLE tools e'er since.
Disclaimer: The post-obit companies and their products, Apple tree, Sony, Blackmagic Design, Miranda Technologies, or the product HDVxDV, are non all necessarily endorsed past Brandon Fullmer. The companies, products and HDV solutions mentioned are merely referenced for the purposes of this article.
[Top]
copyright © Brandon Fullmer 2005
are either registered trademarks or trademarks of Apple. Other company and product names may be trademarks of their corresponding owners.
All screen captures, images, and textual references are the belongings and trademark of their creators/owners/publishers.
Source: http://www.kenstone.net/fcp_homepage/review_z1u_hdv_fullmer.html
0 Response to "Review of Sony Hvr-hd1000n Hd Mini Dv Tape Video Camera"
Post a Comment